Inma Femenía

Inma Femenía - Free Fall CII

Technique: UV printing on PVC

Artist Biography: Graduated in Fine Arts at the Universitat Politècnica de València in 2008. Official Master's Degree in Artistic Production from the UPV, 2009-2010. During these years she was awarded with several prizes. In 2013 she moved to Berlin to continue her research and start exploring the relationship between art and industry, returning to Valencia two years later, in 2015. In 2017, she has been nominated for The Paulo Cunha e Silva Art Prize in Porto and winner of the 2017 Senyera Award for Visual Arts in Valencia. Her work has been exhibited internationally in England, France, Italy, Germany, Portugal, Colombia and Alabama, among others. Noteworthy exhibitions include: Free Fall at IVAM (Valencia, Spain 2017); Live Today. Tomorrow Will Cost More at Praz-Delavallade (Paris, France 2017); Tensión at Centro Párraga (Murcia, Spain 2016); One Size Fits All at The Ryder Projects (London, UK 2016); Rugged Terrain at Beta Pictoris Gallery (Birmingham, Alabama, US 2016); Bête Noire at Musart (Berlin, Germany 2016) and Offene Atieliers at Atelierhaus Dachauer (Munich, Germany 2015). In these last two years, Inma Femenía's work has been acquired by different institutions such as the DKV collection, the foundation Per Amor a l'Art (Bombas Gens) and the Generalitat. Valenciana.

 

Femenía's work is characterized by the relationship between matter and visual perception, evidencing its connection with the digital realm. She tightens the links between the virtual world and the real world, highlighting the interest in the imaginary that we build through the screens. His work has been exhibited internationally in England, France, Italy, Germany, Portugal, Colombia and Alabama, among others. Highlights include the exhibitions: Free Fall at IVAM (Valencia, Spain 2017); Live Today. Tomorrow Will Cost More at Praz-Delavallade (Paris, France 2017); Tension at Centro Párraga (Murcia, Spain 2016); One Size Fits All at The Ryder Projects (London, UK 2016); Rugged Terrain at Beta Pictoris Gallery (Birmingham, Alabama, US 2016); Bête Noire at Musart (Berlin, Germany 2016) and Offene Ateliers at Atelierhaus Dachauer (Munich, Germany 2015). Graduated in Fine Arts at the Universitat Politècnica de València in 2008. Official Master in Artistic Production at UPV, 2009- 2010. During these years she was awarded with several prizes. In 2013 she moved to Berlin to continue her research and start exploring the relationship between art and industry, returning to Valencia two years later, in 2015. In recent years she has been featured in different publications such as DARDO Magazine or WRPD Magazine. In 2017, she has been nominated for The Paulo Cunha e Silva Art Prize in Porto and winner of the 2017 Senyera Award for Visual Arts in Valencia. In these last two years, Inma Femenía's work has been acquired by different institutions such as the DKV collection, the Per Amor a l'Art foundation, Bombas Gens and the Generalitat Valenciana. The central axis of Free Fall's line of research is the relationship between the material and the digital. It reflects how technological advances determine our understanding of reality, especially how the processes of communication, -such as downloading, downloading, downloading, downloading, downloading, downloading, downloading, downloading, downloading. communication processes, such as downloading, uploading, formatting and editing images, condition our perception. These factors, which tend to transform images by abstracting them, are the premises of this project. Free Fall begins with a randomly selected screenshot of a video Print from a public surveillance camera. These cameras are intended to transmit images in real time from different parts of the world and their language is characterized by a vertical point of view and low resolution. The chosen image has been The chosen image has been enlarged several times, dematerializing the digital composition and creating a system of translated forms. The piece is installed suspended from the highest point of the exhibition room. The formal evocation of gravity, frozen in time with the materiality of the piece, references Hito Steyerl's article, "In Free Fall. A thought experiment on vertical perspective," in which he points to the groundlessness of the future experienced through screens. Free Fall shows this concept by giving a materiality to the digital image in the form of a materiality to the digital image in the form of PVC film. This transparent material is related to the technology industry. The work dialogues with the space through its proportions and a slow movement in itself, suggesting the reflective contemplation necessary to reconfigure the original image. Transcending the form and meaning of objects through their representation in digital media, Free Fall demonstrates the connection between technological optics and the visual perception of reality, symbolizing the dialogue between digital and analog language. From this dichotomy, mutations usually linked to the visual language appear, conditioning visual language, which condition the way in which we live our environment. It is exactly at this point where the reflection of this piece lies, where digital representation and its intersection with the present are altered by a medium that merges within the limits of materiality.